The Cambridge Companion to Recorded Music
Published on 26. November 2009
Book
Hardback
380 pages
978-0-521-86582-1 (ISBN)
Description
From the cylinder to the download, the practice of music has been radically transformed by the development of recording and playback technologies. This Companion provides a detailed overview of the transformation, encompassing both classical and popular music. Topics covered include the history of recording technology and the businesses built on it; the impact of recording on performance styles; studio practices, viewed from the perspectives of performer, producer and engineer; and approaches to the study of recordings. The main chapters are interspersed by 'short takes' - short contributions by different practitioners, ranging from classical or pop producers and performers to record collectors. Combining basic information with a variety of perspectives on records and recordings, this book will appeal not only to students in a range of subjects from music to the media, but also to general readers interested in a fundamental yet insufficiently understood dimension of musical culture.
Reviews / Votes
'... the contributors (some 35 of them, counting the editors) form a lively company of writers and have the agreeable art of expressing opinions without seeming opinionated.' Gramophone 'Effortlessly embracing the worlds of popular and classical music, what results is something really rather dazzling in its scope and scale.' Classical Music 'This collection of essays offers many useful insights for both musicologists studying Western art music and scholars working within popular music studies. The book covers a wide range of topics within the remit of an exploration of recorded music, an area of study that has seen some noteworthy publications in the last decade.' The Journal of Popular MusicMore details
Series
Language
English
Place of publication
Cambridge
United Kingdom
Target group
College/higher education
Illustrations
1 Tables, unspecified; 25 Halftones, unspecified
Dimensions
Height: 250 mm
Width: 175 mm
Thickness: 25 mm
Weight
834 gr
ISBN-13
978-0-521-86582-1 (9780521865821)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
Nicholas Cook | Eric Clarke | Daniel Leech-Wilkinson
The Cambridge Companion to Recorded Music
E-Book
11/2012
1st Edition
Cambridge University Press
€29.49
Available for download
Nicholas Cook
Cambridge Companion to Recorded Music
E-Book
11/2009
Cambridge University Press
€25.49
Available for download
Persons
Eric Clarke is Heather Professor of Music at the University of Oxford. Nicholas Cook is Professor of Music at Cambridge University. Daniel Leech-Wilkinson is Professor of Music at King's College London. John Rink is Professor of Music at Royal Holloway, University of London.
Content
Introduction Eric Clarke, Nicholas Cook, Daniel Leech-Wilkinson and John Rink; Personal takes: learning to live with recording Susan Tomes; A short take in praise of long takes Peter Hill; 1. Performing for (and against) the microphone Donald Greig; Personal takes: producing a credible voice Mike Howlett; 'It could have happened': the evolution of music construction Steve Savage; 2. Recording practices and the role of the producer Andrew Blake; Personal takes: still small voices Jonathan Freeman-Attwood; Broadening horizons: 'performance' in the studio Michael Haas; 3. Getting sounds: the art of sound engineering Albin Zak; Personal takes: limitations and creativity in recording and performance Martyn Ware; Records and recordings in post-punk England, 1978-80 Richard Witts; 4. The politics of the recording studio Louise Meintjes; Personal take: from Lanza to Lassus Tully Potter; 5. From wind-up to iPod: techno-cultures of listening Arild Bergh and Tia DeNora; Personal take: a matter of circumstance: on experiencing recordings Martin Elste; 6. Selling sounds: recordings and the music business David Patmore; Personal take: revisiting concert life in mid-century: the survival of acetate discs Lewis Foreman; 7. The development of recording technologies George Brock-Nannestad; Personal takes: raiders of the lost archive Roger Beardsley; The original cast recording of West Side Story Nigel Simeone; 8. The recorded document: interpretation and discography Simon Trezise; Personal takes: one man's approach to remastering Ted Kendall; Technology, the studio, music Nick Mason; Reminder: a recording is not a performance Roger Heaton; 9. Methods for analysing recordings Nicholas Cook; 10. Recordings and histories of performance style Daniel Leech-Wilkinson; Personal take: recreating history: a clarinettist's perspective Colin Lawson; 11. Going critical. Writing about recordings Simon Frith; Personal take: something in the air Chris Watson; 12. Afterword: from reproduction to representation to remediation Georgina Born; Global bibliography; Global discography.